Artweek classifieds, space for rent

NoHoArtsDistrict.com� Visual Arts "How to Article" #2: This is about vanity galleries. One is described as an art gallery for exhibitions sponsored by arts organizations, eductional institutions, independent curators and individual artists, 1300 sq ft, ground floor.

Google Maps (Unofficial Standalone Viewer) - Lower Columbus Passage is a map showing rough locations of Canessa neighborhood views seen in the Passage album on shootColumbus.com.

Google Maps - 94111: TransAmerica Pyramid is lower left and Canessa is lost in the shadows in this satellite image.

NYPL Digital Gallery in the Changing New York collection, there is a picture of two old houses in front of a giant brick warehouse by Berenice Abbott from 1935. What a difference in scale.

Helene Sobol shows studies of of Bark in this month's installation at Canessa Gallery. Beauty comes from something useful, in this case the bark of numerous trees.

Jimo Perini shows 63 years of photography at Canessa Gallery through January. Published more than once. A part of North Beach. A photographer's photographer. Canessa in the past.

ROOKE TIME 26: A Brief History of Graffiti Research/Staffan Jacobson via elastic space

The Cockettes -- uh, the Palace, the theater up the street that seems to be seriously boarded up. Also The Artist General via an official purveyor of information.

Elastico.net: USA, 1872-1991, USGS earthquake and dramatic landscape.

The Examiner has a perceptive article about why North Beach is such a great place, and trashes Civic Center, Union Square (a little) and the Embarcadero and its fancy farmer's market.

Winter Event -- this is the figurative show from last year

Here's a new group of Johnson Details. Recommend view as slide show. The ones mentioned in the November 27 post are so blurry they'll have to go.

One thing about the Canessa poetry series is how the readers tend to be various brighter lights in poetry, not just anybody.

What Canessa does... Click the thumbnail for a picture set of a gallery opening without being too specific about it. Like who, what, when. But it should be obvious where. Recommend "view as slide show" when you arrive at Flickr.

Inference Group: Dasher Project: Home is a link especially for one of Canessa's friends who has ALS. Keep hope alive, and for you poets out there, this is certified fun by the BC. Words stream on to the page.

The Canessa Reading Series turns 21 in 2005, making it one of the longest-running independent poetry reading series in San Francisco. Jim Hartz, Ben Friedlander and Laura Moriarty started it in 1984 as an extension of the Tassajara Bakery series at Cole and Carl, itself an extension of the Grand Piano series. Hartz, former director of Intersection when it was on Union Street, was director of the SFSU Poetry Center at the time. Moriarty handed the Canessa series over to Spencer Selby in 1986, who ran it for six years. After that, Colleen Lookingbill and Jordan Zorker ran it for two years before handing over to the current coordinator, Avery Burns in 1995.

Vianya.net : Mt Hood while we're at it.

Vianya.net : We've Got Molten Rock: "They said that since the ash was dark, they couldn't see it falling from the sky, it just sort of appeared in the yard. The eruption went on for nine hours, can you imagine?"

One of the prints in the Grant Johnson exhibition closing Friday, December 24, Sunrise, Napa Valley, 9910300427, inspires a new online gallery of Johnson Details, which show some of the unique aspects of Johnson's achievement as a studio printmaker. He started in art school as a painter interested in pointillism in the manner of George Seurat and Paul Signac, but that was too slow, he said. Then, when computers with graphic capabilities came along in the early eighties, he tried pointillism again using early pixel paint programs and a bitpad with somewhat more success, except there was no output capability. Eventually the tools came together, a sufficiently powerful, yet affordable platform, major investment in a large format inkjet printer, scanners and Photoshop. Like the old masters, Johnson relies on optics, this time in the form of photography, heavily mediated by his process, and always rendered in dots (or points), just as in his first efforts, a vibrant optical mixing of pure colors, no muddying.